Nagulan may score a hat trick with ESK Films International's Kandha Kottai, produced by T. D. Raja and directed by Sakthivel S. — following his first two hits Kadhalil Vizhundaen and Masilamani . While the first half of the film focusses on romance, action rules in the second half. This mix aims to entertain, which it does. The hero, Siva (Nagulan), doesn't believe in matters of the heart and is out to separate those in love. Pooja (Poorna) is just the opposite. She does everything to help lovers unite in matrimony. When Siva's sister (Nadiya) loves a boy, Pooja helps them to get married. This is when Siva and Pooja meet and love blossoms between the two.
Now a love triangle is introduced into the tale in the form of Pooja's friend (“Sandakkozhi” Raja). His influential father, Singam Perumal Annachi (Sampath), wants them to marry. But when Pooja tells her friend that she loves Siva, he gets dejected and ends his life. Enraged, Singam Perumal vows to make Pooja's life miserable. How the hero tackles this situation is shown in an action-packed climax. Nagulan is successful, as he acts the way he is in real life. The director has wisely exploited some of his natural mannerisms which are apt for the role. His antics in the first half where he is shown to be against love endear him to the film-goers. The actor has once again proved that he's a good singer too with his beautiful rendition of the melody, ‘Eppadi Ennul Kadhal Vanthadhu'. He is in full control in the action sequences in the second half and is also able to convey his emotions.
Poorna as Pooja does her role with ease but she should realise make-up should be used to enhance her looks and not the opposite, which is what happens in the film. Santhanam as the hero's friend provides comic relief. Sampath enacts the role of Annachi with conviction so much so that he wins the sympathy of the audience. Bala Singh as the minister, Sivaranjani and Enfield Ravi as the heroine's parents are adequate.
E. Krishnaswamy's camera work, particularly in the song sequences shot abroad, is pleasing.
The melodious tunes of music director Dhina complement the lyrics of Yugabharathi, Kabilan and Viveka. But he should have worked more on his re-recording, particularly in the first half of the film. Perhaps this is the first time, a kuthu song has been shot in a foreign location.
Though Suraj Kavi's editing is noteworthy, he could have tightened the narrative by cutting out some scenes. The dialogue by the director is up to the mark. He is also credited with writing the story and screenplay.
